An exhibition of ceramics, jewellery, drawings, artists books and the launch of the above video. The exhibition is in celebration of the Chinese year of the dragon. For more information follow link to Eugene’s blog for an essay on his latest work written by Brenden Gray. Just below the title image is an article on his latest work that appeared in Art South Africa titled, The Ceramic Surface; A Virtual Crossover.
THE CERAMIC ARTS TRAIL Around twenty contemporary ceramic artists will be invited to show their work in the heart of village, in private sites transformed for the occasion into temporary exhibition spaces. The selection criteria will prioritize the quality of the work but also cultural diversity and the variety of techniques used. The originality of the trail is based on the match between the selected European artists and the spaces offered. It offers another way of discovering the village: behind normally closed gates or courtyards usually hidden from view. Given the richness that personal encounters add to the experience of art, the artists will be present on the site of their exhibitions for the duration of the festival, to meet the public and explain techniques and artistic approaches.
Trailer of the documentary made by Eva Rodriguez and Ignasi Llobet on a work of art Contemporary artists Jordi Marcet and Rosa Vila-Abadal.
“The pieces fit. Tones attract. Not all fit in harmony, some accept the company, others turn away. Place the right piece, but you know that this piece marks the direction of the end . the fragments escape, slip, fall down and many are broken. one by one. one plus one. lace. lace. lace. Feel the pleasure of the fit, agile and fast. a magic moment: everything fits. Everything flows. “
Greg Payce is recognized internationally for his unique ceramic works combining vase forms with precisely articulated profiles. When properly aligned, illusionary images, most often of human figures, appear in the negative spaces between the vases.
Starting in 2007, the artist began to create large-scale lenticular photographs of major pieces, opening new possibilities for seeing and experiencing the original works. Lenticular photographs incorporate digitally re-mastered images and lenses to create startling three-dimensional illusions. He also began to work with video projected on to moving works, creating mesmerizing sequences that relate decorative motifs found around the globe to contemporary ceramics practice.
In this exhibition, important early works indicating the artist’s growing fascination with image, decoration, history and technology will be displayed in the Focus Gallery amidst the Museum’s rich collection of historical ceramics. Major new works from the last five years will be exhibited in the George R. Gardiner Gallery including original ceramic artworks, lenticular photographs created from these artworks and large-scale video projections. Visitors will experience the work in a variety of arrangements, formats and scales.
This exhibition showcases one of Canada’s most innovative and productive ceramic artists, demonstrating his ongoing commitment to expanding the expressive and conceptual range of ceramic art.
Leading up to December 18, designated “International Migrants Day” by the United Nations, Immigrant Movement International is mobilizing artists, immigrants, activists, and interested members of the public across the globe to develop projects related to the issues and experience of migration.
Sunday December 18, 2011. Global action “International Migrants Day” Street Art done in response Immigrant Movement International (IM International), an ongoing project initiated by artist Tania Bruguera and co-presented by Creative Time and the Queens Museum of Art, today announced an open call for submissions for actions that will take place on December 18, 2011, designated “International Migrants Day” by the United Nations. The organizers call on artists, immigrants, activists, and interested members of the public to stage an action on December 18, 2011 at 2pm local time in recognition of the concept of transnational migrants as a “global class” united across continents and cultures by common political and social conditions, as well as by the human experience of being a migrant. By engaging participants across the globe in a UN-endorsed project, the organizers hope to promote understanding of the specificity of local migration issues and the political interconnectedness across nations and regions that migration engenders
Below is a description of the work presented in the images (images via facebook) from the website for the International Migrants Day which can be found here.
Unsanctioned public art intervention in Johannesburg (Central Business District), South Africa.
The intervention consists of ceramic sculptures placed in an urban liminal space, under a bridge. The very nature of a bridge permits its symbolic use: it is a structure that joins two otherwise separate pieces of land, yet at the same time enhances their separateness. One can travel across a bridge, but while on it the traveller is neither in one place nor the other, thus a bridge is a quintessentially liminal object. In Johannesburg many displaced, migrant and homeless people live under bridges they survive without electricity and water it is their ‘home’. I will populate the space with objects that reflect my own liminal migrant cultural hybridity in a post-colonial urban society. I use the notion of cultural hybridity as presented in Homi Bhabha’s (1994) theory of hybridity and the third space. Bhabha contends that a new hybrid identity emerges from the mutual intermingling of two cultures; that a “third language” evolves that is neither the one nor the other. With regards to the definition as I have used it here, the third space enables other positions to emerge, positions which are both inclusionary and multifaceted. Finally I will record my own unsanctioned public art intervention which re-purposes the space of the urban environment to engage with the urban dweller in a playful way; highlighting the consequences of the mufti faceted nature of liminal migrant hybridity. I will compile and present photographic documentation of the sculptures in situ and the ephemeral life span of these objects.
Corner of Fox Street and Ferrea, Johannesburg
Tania Bruguera, 2011. Material can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. This material cannot be altered in any way or used for commercial purpose. Visit Tania Bruguera’s website here.
